Love Never Ends: Sequel to Phantom of the Opera

DVD Live on April 11, 2011 @ Sydney's Melbourne Theatre 

Love Never Dies picks up 10 years after the finale to The Phantom of the Opera. It is set in 1907, which we are to understand is 10 years after the original Phantom (which actually took place in 1881, but who cares). It is also the lovechild of Side Show + Barnum + the original Phantom, with hints of Titantic, Show Boat, Cabaret, & Ragtime. I was surprised at how well this musical created a nostalgia for Phantom (my very first Broadway show) while still creating a setting all its' own [click HERE is a full plot, including spoilers]. Overall, I was not disappointed, which is a surprising feat for a musical sequel of this proportion. The storyline was engaging, the characters were developed, the songs were sufficient, and the staging was fresh, stylish, & innovative. It's not a show I'd justify buying tickets for, but the Netflix selection was pretty good time. Now, some musical highlights: 

Love Never Dies 

A lovely song. I love it in Love Never Dies almost as much as I loved it in The Beautiful Game. 

The Beauty Underneath 
A weird, Vegas-esque duet showing the eeerrie bond/similarities between the Phantom & Christine's 10-year-old son.

Dear Old Friend

A great quartet about the awkward reuniting dance between Christine, Raoul, Meg, & Mme. Giry.

Michelle Williams // Nellie Forbush

SOUTH PACIFIC: THE MOVIE!!! 

According to Playbill, Michelle Williams will be playing Nellie Forbush in the cinematic adaptation of South Pacific, which is set to be directed by Tony winner Michael Mayer (American Idiot, Spring Awakening). It is rumored that Tony-winner Hugh Jackman is going to be approached to play Emile de Becque & Grammy-winner Justin Timberlake is the hopeful casting choice for Lieutenant Cable. Michelle Williams can do no wrong & is a perfect pick for this role (she would have been perfect as Daisy Buchanan too, but that's it's own thing). Hugh Jackman proved his invincibility in Les Miserables & I think Emile is a complicated enough role that it might be one of the only ones that could actually challenge & enrich him after that life-changing [his & mine] performance. I love Justin Timberlake as Lt. Cable! His artistic endeavors never fail & he clearly has conquered all three of the threats that musical theatre demands. Plus, Lt. Cable is the all-American boy & Justin Timberlake could not embody that sentiment more. South Pacific has a beautiful score & a dramatic war-time storyline that was made for the big screen. I can't wait! I want Miss Saigon next!

WENDY & LUCY: My favorite Michelle Williams movie 

{ I mean, besides/in addition to Brokeback Mountain, Blue Valentine,  & Shutter Island. 

I liked her performances in My Week with Marilyn & Take This Waltz, but disliked those movies overall. 
I also grew up on Dawson's Creek & have nothing but positive things to say about her Jen Lindley years.}

DISNEY + SHAKESPEARE.

DISNEY IS TAKING ON SHAKESPEARE!!!

THE FACTS & FIGURES:

Disney has hired Alex Timbers to direct a musical adaptation of a TBD Shakespearean classic [with Amy Talkington adapting the screenplay]. Mr. Timbers has been nominated for two Tony Awards for co-directing Peter and the Starcatcher (for which SMASH's Christian Borle won the Best Supporting Actor Tony last year) & writing the book for Bloody Bloody Andrew Jackson (which he also directed). He has also directed The Pee-wee Herman Show, Gutenberg! The Musical, Boozy, & A Very Merry Unauthorized Children's Scientology Christmas Pageant. The film will be produced by Offspring Entertainment's Adam Shankman, Jennifer Gibgot, Jon Chu & Matt Smith.

The William Meets Walter Dynamic:

It is my prediction that this new Will & Walt connection will be the beginning of a long (& possibly glorious) union. I am opposed to the overwhelming Mousification of Broadway, but I am not so close-minded to forget the awesomeness the brought to stage...Julie Taymor's ground-breaking puppetry in The Lion King, Mary Poppins flying over the audience, The Little Mermaid swimming on Heely's, Elton John's beautiful score for AIDA, & the list goes on. One thing that anyone who has eaten at DisneyLand knows is that Disney brings the highest quality of product to the table. It's a little weird & feels a little bit off, but, overall, I like this an exciting development. The Disney corporation is also so universal that this film will undoubtedly introduce people (especially children) to the Wonderful World of Shakespeare [or Edward DaVere, but that's a blog for another day]. 

THE SHAKESPEAREAN MUSICAL:

 "Developing The Last Goodbye – a Romeo & Juliet with the music of Jeff Buckley, 

I've been so lucky to get to explore the possibilities of combining Shakespeare with contemporary music. 

This Disney film takes that concept even further & turns it on its head in an ingenious way."

Just the idea of anyone putting Shakespeare in the form of a musical makes this creative endeavor cool in my book & Timbers comes with experience in marrying musicals & Shakespeare. In addition to the recent rock musical The Last Goodbye, Timbers will also be directing a musical adaptation of Love's Labours Lost with composer Michael Friedman which will premier this summer as part of The Public Theater's Shakespeare in the Park. I'm just hoping the songs will be in iambic pentameter. 

The Great Question: Which Play Will It Be?

I am very curious as to which Shakespearean play they will choose for this inaugural production. According to Timbers, "The script stretches the boundaries of the movie musical & demands the sort of surprising visuals & raucous spectacle which I love to create in my own stage musicals." Obviously, it will be a comedy (which knocks out Titus Andronicus & most of my favorites) & will more than likely not be Love's Labour's Lost. My prediction is A Midsummer Night's Dream. It is the quintessential play for any inaugural Shakespearean company: it is probably the most accessible in terms of plot, probably the most popular in terms of audience familiarity, & there are fairies. My second bet (& the one I'm rooting for) is As You Like It. I have played Hermia in Midsummer twice, so I have a spot in my heart for that show, but As You Like It would be a little bolder & shine light on an entirely awesome Shakespearean comedy that always seems to slip through the cracks.  My other projected/hopeful possibilities would include The Taming of the Shrew (which actually could be a real contender due to the approach-ability of the subject matter), Much Ado About Nothing (which lacks the plot & I don't think anyone would be happy with a filler plot being incorporated), The Tempest (an exciting choice I would imagine to be too daunting). 

SOURCES:

Deadline.com + Broadway.com + Playbill.com

2013 Oscars & Musicals!

THE MUSICAL IS BACK!!!

I LOVED IT ALL. Especially the drum-line.

THE WINNERS:

• Ben Affleck for Best Screenplay/Best Movie [Argo]: I am happy for him [not that I've seen Argo]. He's a good family guy & his first Academy Award acceptance speech for Good Will Hunting was legendary. Plus, I'm partial to Bostonians & it was nice to see the 1st Lady supporting the ARTS. 
• Ang Lee for Best Director [Life of Pi] : Brokeback Mountain made me an eternal Ang Lee fan. His speech was engaging, candid, & I like that he said Namaste.
• Jennifer Lawrence for Best Leading Actress [Silver Linings Playbook]: Granted, she fell on her way up to the stage. But I blame J.Law's stylist for that mishap because that stunning Dior couture creation would have been difficult for anyone to maneuver, even Katniss. Even though I have not seen Silver Linings Playbook YET, I am glad she won. It would have been cool for the 9-year old to win (tomorrow is just a day away for that lil starlet), but I am glad Katniss took the crown. 
• Anne Hathaway for Best Supporting Actress [Les Miserables]: I am in agreement with the majority of Americans who feel that there is something inherently unlikable about Anne Hathaway. Maybe it's her faux humility, maybe it's the fact that she alone sees herself as America's Sweetheart, maybe it's that she's arrogant enough to casually call Judy Garland & Tina Fey Judy & Tina like they are BFF....I really don't know. She just lacks that innate likability quotient that can't be faked or taught; sorry, Anne, I'd like to like you. Having said that, I also have to say that she really was an awesome Fantine & did deserve her award. But, it's also a real shame that she beat Naomi Watts because that woman deserves an Academy Award already. 

FAREWELL, LES MISERABLES.

...can two anxious hearts beat as one..?

It seemed a strange choice to open the Les Mis montage with a tiny song that was created for the movie, but I guess its' purpose was to honor the movie specifically rather than the Les Mis empire as a whole. I do like this little ditty [plus, it did serve to replace a section of the musical, not create an entirely new one]. I also like that Hugh Jackman is the only ValJean to have sung this little melody because he deserves his own little piece of Les Mis. The man is an amazing, exceptional talent & the film would be nothing without him. I wish he had won an Academy Award, but Daniel Day Lewis did deserve this 3rd Leading Actor Oscar [I'm going by public opinion, I didn't see Lincoln either]. Anne Hathaway's part in the montage was fine, but her voice did warble during moments that required strength (maybe she was pretending to be emotionally invested?). Amanda Seyfried looked gorgeous & I was surprised at how great she sounded. She & Eddie Redmayne seemed to have an even stronger chemistry in person than on film & his voice sounded amazing. Samantha Barks is obviously an invincible live performer, so she rocked it & I liked her modest, English evening attire. I had an opinion in the back of my mind that this live performance was partially a backlash at the critics who said the cast was comprised of actors pretending to sing. And they did achieve that until Russell Crowe came out. Besides Mr. Crowe (whose acting was sooo much better than his singing), this montage was a lovely last hoorah to the cinematic adaptation of Les Miserables. I credit this film for the Musicals in Movies theme of the Academy Awards & hope the awesome influence of musicals on movies will continue selling tickets & bringing musicals to the any & every theatre forever & always. AMEN!

The Les Mis Movie Archives:

* Les Mis DreamCast [3.31.11] * The Initial Movie Cast [10.21.11] * Movie Cast Compete [1.11.12] * Taylor Swift is NOT Eponine! [2.21.12] *  THE TRAILER [8.28.12] *THE MOVIE ARRIVES [1.1.13] * The Miserable Golden Globes [1.15.13] *

Will Smith Brings Back the Sun: Part II

QUVENZHANE WALLIS 

Replaces Willow Smith as Annie!

It was previously announced that Will & Jada Smith will be producing a film version of Annie with Jay-Z re-working the score (&co-producing), Emma Thompson adapting the script, & his daughter Willow Smith cast in the title role. It was announced yesterday that Quvenzhane Wallis, the 9-year-old who became the youngest person to be nominated in the Best Actress category for her performance in Beasts of the Southern Wild, has officially been cast as our Little Orphan Annie. I am so down with this re-casting; I was not in favor of Willow Smith playing the role. It was too inbred, she is too old, & seemed too sassy. Quvenzhane Wallis, on the other hand, still seems like a little girl, has a face that is familiar enough to trust & unfamiliar enough to imagine as Annie, & certainly understands the hard-knock life. My only concern: Can she sing? While attending the seminar Real Talk With Sister Souljah & Will Smith at Temple University on February 5, Will Smith delivered the news that daughter pulled out of the movie. 

Here's his explanation:

"In the past 18 months, I have spent a lot of time focusing on the emotional aspect of my life and my family. In 2010, in one year, our family had the Karate Kid. We had Whip my Hair, we had Hawthorne, and at the end of the year, we did the Nobel Concert when Barack Obama won his Nobel Peace Prize. Don’t be clapping yet, that wears you out. The thing that had become very clear to me is the danger of a material world and focusing so hard on coming up with money or a house or a job. You focus so hard on those things, and sometimes you can lose focus on why you are doing it in the first place. The only reason to do any of that is to have love.

Willow was supposed to be doing Annie, we got Jay-Z to do the movie, got the studio to come in and Willow had such a difficult time on tour with Whip my Hair and she said, ‘You know Daddy, I don’t think so’ and I said, ‘Baby, hold up! I said no, no, no, listen, you’ll be in New York with all of your friends and Beyoncé will be there. You will be singing and dancing,’ and she looked at me and said, ‘Daddy, I have a better idea, how about I just be 12.’

I’m really learning through Willow the necessity that we have to snap ourselves back and refocus on the emotional needs of the people that we love. Someone’s emotional needs can be very very different from your dreams and what you think they should be doing and where they are supposed to be."

Will Smith Brings Back the Sun: Part I

BEST BACKSTAGE MOVIES.

Everyone loves movies & everyone [should] love theatre.

What better union could exist than the marriage of cinema & stage?

Movies based on musicals tend to be hits & rarely disappoint; 

but more intriguing than the direct translation from stage to screen
are the movies that serve to provide insight into the theatrical process, which got me thinking about...

THE TOP 10 BACKSTAGE MOVIES:

1. CRADLE WILL ROCK 

2. Waiting for Guffman 3. A Midwinter’s Tale

4. Rushmore 5. Center Stage

6. Mangus!  7. Stage Beauty 8. Black Swan

9. Phoebe in Wonderland 10. Shakespeare in Love

THE TOP 10 BACKSTAGE MOVIES [categorically]: 

#1: historic & federal theatre  #2/3/4/6: indie-movies meet the stage  

#5/8: indulgent ballerina movies

#7/10: perfect period-pieces  #9: charming kiddie-theatre

Les Miserables: The Movie!

IT HAS FINALLY ARRIVED!!! 

AND IT RULED. 

It has been a long road from the initial cast, recasting decisions, 

the final cast announcement, & the trailer release 

to finally have this Christmas present arrive. 

[believe I was there on Christmas Day with Christmas bells on.]

• Hugh Jackman served as the backbone, brain, & beauty of this film in his performance of Jean ValJean. I initially thought he might seem too young, but that was a non-issue. His experience as a stage actor clearly infused his performance; his acting & singing were matched in excellence, awesomeness, & impressiveness.
• As Eponine, Samantha Barks brought a similar sense of theatrical professionalism to her performance; her singing was strong, her physical appearance was traditional & perfect (although her waist was freakishly tiny) & she presented an Eponine that was more pitiable than pathetic. Her role seemed more pivotal to this plotline in the film version & her rendition of “A Little Fall of Rain” was genuinely heart-breaking. 
• The role of Gavroche serves as a tiny bright spot of sorts, Daniel Huttlestone’s performance of Gavroche provided an equally bright spot in the movie. The moment of Javert pinning his pin to Gavroche’s tiny, fallen body & the aligning of Gavroche to baby Javert (“I am from the gutter, too” ~ Javert, "The Confrontation") was my favorite moment of the entire movie. 
• Speaking of Javert (incidentally, my favorite character), Russell Crowe was a great actor & sub-par singer. His singing wasn’t awful but it lacked the authoritative confidence that defines Javert; these short-comings became especially apparent during the confrontations between Javert & Jean ValJean.
• As Cosette, Amanda Seyfried was stunning in her effervescent beauty, created a fuller character than Cosette is often presented, & sang adequately. She had many moments of  a perfect & bird-like twittery sound, but, more often than not, she reached for notes & barely reached them. One thing I loved about Seyfried’s Cosette: she was blond! Cosette is traditionally brunette in the stage version, which never made sense considering she is Fantine’s daughter & Fantine’s flowing blond hair is a defining characteristic. 
• Speaking of Fantine’s flowing blond hair, where was it? I just want to know why they unnecessarily changed this iconic part of her character. Besides, the hair issue, Anne Hathaway was a pretty stellar Fantine. I really didn’t expect to like her in the role. In my nearly-never-wrong opinion, she peaked at The Devil Wears Prada & casting directors have been too generous in the roles in which they cast her (hello, Jane Austen). Apparently, I was wrong because she rocked as Fantine; her acting was thoughtful & she nailed the wide spectrum of emotions that fall upon Fantine. Her rendition of "I Dreamed a Dream" was refreshingly flawless & made me hear a song I’ve heard 10,000+ times in a new light (especially her angry growling delivery of “…he took my childhood in his stride, but he was gone when autumn came…”). Another perfect, gut-kicker moment was her dying eyes lighting up as ValJean carried her away from the whore-docks & promised to deliver Cosette to her. Well done, Anne! I’ll be rooting for you on Oscar night. 
• Eddie Redmayne played Marius & he presented the perfect balance of  man & boy. I didn’t realize he could sing, but was pretty impressed with his voice 90% of the time. I felt more understanding of this Marius: his past, his convictions towards the revolution, the crazy consuming feeling of first love, the need to take care of/provide for Cosette, & his relationship with ValJean…all of these aspects of Marius as an individual were more highly heightened & allowed the audience member a further investment in the future of his character.
• Helena Bonham Carter & Sacha Baren Cohen as The Thenardiers: Obviously, they were both funny, well-cast, & provided the necessary punctuating funny moments. However, they were what I expected them to be since these roles aren’t too removed from their normally-expected roles. Granted, S.B. Cohen doesn’t generally sing, but seeing H.B. Carter stuff meat into a grinder was a bit too much of a Sweeney Todd flashback for me. This is the lesson we learned from Samantha Barks beating out Taylor Swift for Eponine applies to the Thenardiers: even if a known face is a good fit for a role, an unknown actor might allow the audience to disappear into the story more. 
• Lastly, having Colm Wilkinson [the original & impeccable Jean ValJean] play the Bishop who re-routes ValJean's life was the best casting choice of them all. He is an exceptional performer who can conquer any role; but casting him as The Bishop who guides ValJean when he is the actor who guides the actors who play ValJean was so crazy clever, sentimental for the long-time Les Mis lovers, & respectful to the stage-version of the musical that I was crying within the first 10 minutes of the movie. One of many smart moves by our director, Mr. Tom Hooper. 

NOW GO SEE LES MISERABLES!!!

ANNA KARENINA: The Movie!

I LOVE this book & have been long anticipating this film. I was not disappointed. 

First of all, let’s address the fact that most of the action was set in an old theatre. I loved the post-modern, Julie Taymor-eque artistry of the vision; however, more than the strange beauty of the theatre-setting, it was a clever & creative way to establish the underlying insinuations of the 19th-century Russian high-society. The most apparent common thematic thread was the strict & stringent design behind theatrical productions that parallel the strict & stringent order of this particular society: every person has a specific job that must be performed with unquestioned precision for the production to exist, let alone flourish. With such strict expectations of one’s particular role comes the necessity of incorporating a sense of hierarchy (this idea was ingeniously executed in the film with Levin willing placing himself among the stage crew). Imperialist Russia was nothing if not dramatic & there is no better setting than a theatre to convey the power of ghosts lingering in the wings, stolen glances, & living lies. There seems to something about theatres (especially in period films) that insinuate seediness. Maybe something about the heightened drama of a theatrical setting that makes the commonly unacceptable strangely alright; maybe it’s that acting is inherently presenting false-truths & the necessity to live false-truths becomes present when one is engaging in unacceptable actions such as an affair; I’m not sure what the link is, but the imagery definitely works. Lastly, the use of the theatre as a setting conveys the struggle that comes with living one’s life on a stage. This reality served as a cornerstone of Anna’s conflict & is a surprisingly contemporary emphasis & application of Tolstoy’s ageless novel. 

Keira Knightley as Ms. Anna Karenina

I’ve never been a fan of Keira Knightley, so my expectations were pretty low. She’s always seemed like the British Anne Hathaway to me, but I actually enjoyed & appreciated her portrayal of Ms. Anna K. [even though, for it being the title role, the role itself did not seem extremely challenging; sub-par acting could have been easily over-looked by the impeccable film-making quality & artistic vision]. Ms. Knightley has served as the muse for director Joe Wright’s in Atonement & Pride & Prejudice. I didn’t love her as Elizabeth Bennet & her performance as Anna made me realize why: she is a period actress who is consistently cast in the wrong era. Her aura & physicality were an awkward fit for the empire dresses of Pride & Prejudice. However, her angular beauty, quiet/complicated restraint, & British frigidity make her a good fit for Imperialist Russia. Her character was styled perfectly, with stacks of pearls & subtley disheveled hair. I also appreciated that she (and Jude Law) were cast in a perfectly age-appropriate manner. 

Jude Law as Karenin 

He was great. Jude Law is an exceptional actor & his skills are overshadowed by his physical perfection. This was not the case. He allowed himself to appear weathered, rigid, & largely unappealing. However, the beauty in his performance that he did not allow Karenin to appear a monster. His performance reminded me of Philip Quast's perfected portrayal of Javert in Les Mis: he aims to rigidly adhere to his society's holy rules & cannot forgive the deviant, defiant,  or different  interactions between these iron rules & the infallibility of human nature. I found his performance as Karenin to be the most complicated & thought-provoking in the entire film. His specific conflict in dealing with an unfaithful wife carried a more complicated weight than the burden facing any other character & Jude Law conquered the challenge beautifully. 

 

Aaron Taylor-Johnson as Vronksy

For being the character who serves as the catalyst for most of the conflict, Vronksy is a surprisingly shallow character. Taylor-Johnson presented a nice balance in his performance by realizing his role was more important in the context of the entire story than as complex character. He was appropriately charming & his chemistry with Ms. Knightley was surprisingly sufficient. My favorite part of his performance was his consistent sense of distance; even at his most intimate moments with Anna, there was a clear & cold feeling that one foot might been veering towards the door. 

Domhnall Gleeson as Levin & Alicia Vikander as Kitty

Gleeson was the ideal image of Levin in my mind & incorporated both Levin's angst at his disppointment & strict inherent allegiance to living as a good & honorable man. As Kitty, Ms. Vikander dispayed the unassuming beauty & innocence of a girl in the beginning of the film and transformed into an elegant young woman of the house by the end. The only element of this storyline that was lacking was their history: Kitty & Levin had a history that was glossed over & assumed; she chooses Vronksy over Levin, only to have him leave her for Anna. The devastation that Kitty endures from Vronksy's betrayal leads to a process of self-actualization/understanding that leads her back to Levin. That journey was ignored & would have been a welcome addition to the film as a whole. 

National Theatre Live: ReView/PreView

The View from The National 

Here’s the deal on NationalTheatreLive: Britain's Royal National Theatre creates some of the world’s most glorious productions & they thought it was only be fair to share the awesomeness. So, they film productions & present them via satellites to various movie theatres.  The plays are presented live in Britain, but the screenings may be delayed up to 4 weeks for airings in the U.S [However, it was recently announced that The National Theatre will open NYC-based office to allow the filming/live phenomena to apply to North American-based productions as well. It is a sensible move forward since shows from The National Theatre have been recently appearing on Broadway: we had War Horse last year (which has also made the leap from Broadway to Broadway in Chicago from Dec. 18-Jan. 5 @ The Cadillac Palace) & One Man Two Guvnors this year. I saw a preview of War Horse at Broadway in Chicago's Summer Concert & can't wait to see it live.]

Book Sale outside The National 

David Sabel, overseer of The National’s digital media, has stated, "The history of filmed theatre does not have a great track record, so we went into the series as something of an experiment." I do not entirely agree with this statement. There have been filmed stage releases that have been huge hits in my book [Sunday in the Park with George, Passion, Legally Blonde: The Musical produced by MTV], as well as films of awesome theatre concerts [Hey, Mr. Producer, The Phantom of the Opera 25th Anniversary Concert, Les Miserables @ Royal Albert Hall] that also ruled. I do agree that this is an untapped & underappreciated avenue, but the track record thus far has proven successful & enjoyable [though much more for filmed musicals over plays]. I saw The Curious Incident of the Dog in Night-Time on Oct. 17 @ The Music Box Theatre & it was great. It had an innovative & contemporary script, insane & impressive set design, and impeccable & inspiring actors. Pretty much everything I expected & more.

The witches from MacBeth

David Sabel has also stated: "What’s exciting is that there is now an audience who may never set foot inside the National but can still have a meaningful relationship with us." I couldn’t agree with this statement more. During the summer before my senior year of college, I did a theatre study abroad in England & fell in love with the National Theatre. I saw Henry IV Parts 1 & 2 (in one very long/awesome afternoon/evening) & The House of Bernarda Alba. They were such stellar & exceptional productions that I will forever trust anything produced by the National Theatre. [It was also on this trip that I first realized I wanted to be a theatre critic.]

Chicago's NationalTheatreLive Fall Schedule:

FRANKENSTEIN: Oct. 30: Northwestern’s Josephine Louis Theatre @ 7 & 10:30 

[I already have my tickets.] 

THE LAST OF THE HAUSSMAN: 

Nov. 7: The Music Box Theatre @ 7 // Nov. 13: Northwestern’s Josephine Louis Theatre @ 7 

TIMON OF ATHENS:

Nov. 27: Northwestern’s Ethel M. Barber Theatre @ 7 // Nov. 28: The Music Box Theatre @ 7 

Ticket Prices: Northwestern: $20/$10 student // Music Box Theatre: $18/$15 in advance.

Les Mis: MOVIE TRAILER.

LES MISERABLES: THE OFFICIAL 2012 MOVIE TRAILER

COMING CHRISTMAS 2012

Russell Crowe looks like a great Javert & I can completely envision him as the obsessive, harsh, hounding officer. I'm just curious if Russell Crowe is going to be able to pull of Javert's character equally well through his singing and acting. STARS is one of my favorite songs ever & he better not drop the ball. As Jean ValJean, Hugh Jackman seems like a cop-out casting. He really is the only/obvious Hollywood name who is as synonymous with musicals as with movies. However, for this specific role, he seems too soft around the edges, too young, too pretty, & too familiar. I would have loved to see a seasoned Broadway veteran playing ValJean. Not only is he an iconic literary character (who I always prefer to see performed by an unknown actor rather than a familiar star), but ValJean is pretty much the pinnacle male role in musical theatre. Of the 13 film adaptations of Les Miserables, this is the first  translation the stage musical to the screen. It would have been refreshing & in much better taste to give the honor of the role Jean ValJean to a deserving stage actor over a familiar Hollywood face. 

Where were Sacha Baron Cohen (Thenardier) & Helena Bonham Carter (Mme. Thenardier) in this preview? Talk about a bad marketing move. Not only are they some of the most popular & pseudo-beloved actors in the cast, but the Thenardiers are the only fun part of the musical. I would think an excerpt of Master of the House would draw a more excited potential audience than constant shots of a busted-up Anne Hathaway. 

I admit I am not an Anne Hathaway fan, but I don't think I'm biased when saying she was miscast. Her acting has never impressed me; I've liked her in the contemporary, girl-next-door-with-a-twist roles (Devil Wears Prada, Love and Other Drugs) but have not been impressed with period pieces (Becoming Jane) or oppressively emotional roles (Brokeback Mountain). She's not all bad, but she is not a chameleon & Fantine is not a role that does not rely on her strengths. Anne Hathaway actually can sing [even though her rendition of I Dreamed a Dream in the preview was warbling, weak, & lacked conviction]. I was really surprised at her Oscar performance [specifically spoofy-singing On My Own] because you could actually hear her skill behind the farce. Seeing her in this video makes me wonder, WHY WASN'T SHE CAST AS EPONINE? I'm very glad that Samantha Barks ended up in the part, but I'd rather it had gone to Anne Hathaway, so they could have put someone in the more critcal role of Fantine. [BTW, It's annoying Eponine/Samantha Barks only got one side shot in the preview. Eponine wasn't a huge role in the book or 1998 film adaptation, but she is very pivotal & present in the musical. I'm sure her absence in the preview wouldn't have occurred if the originally-casted Taylor Swift hadn't lost the role.] Even Amanda Seyfried would have been a better choice because she more conveys the hopeful, wide-eyed, desperate vibe that Fantine requires (and was perfected by Ms. Ruth Valentine Henshall). PLUS, SHE IS BLOND.  I'm all about the physical re-interpretation of classic characters, but Fantine's flowing blond hair is one of her defining characteristics that was completely ignored in this film's adaptation. Even though she'd be a better Fantine, I am confident Amanda Seyfried will be a picture-perfect Cosette. I am equally confident that our underdog Eponine Samantha Barks will shine in her role & soon become a household name. 

BEYOND THE TRAILER...

P.S. I still think THIS CAST of Les Miserables would be pretty awesome.

NEWS: Will Smith Brings Back the Sun!

According to BBC News, a new remake of ANNIE will start filming in NYC in Spring, 2013. 

Will Smith is producing the film & his daughter Willow Smith is playing the title role. 

Jay-Z is altering the original musical score & Emma Thompson is adapting the screenplay.  

I like ANNIE. I’m usually not a fan of kiddie-musicals (or kids in musicals), but ANNIE holds a stronger, stranger appeal than the traditional token kiddie-show. It has quality music that requires strong singers who can incorporate equally strong acting abilities, unique but eternally interpretable characters, genuinely funny moments that appeal to any age group (with the occasional veiled joke that only rings right-on with adults), the incorporation of historical content as opposed to the setting only serving as a backdrop, & the powerful appeal of nostalgia. Speaking of nostalgia, ANNIE has served as a gateway show for several of our current cinematic starlets (Sarah Jessica Parker, Alyssa Milano, Cynthia Nixon, Andrea McArdle, & Molly Ringwald). Also, I’m a sucker for the artistic styling that ANNIE demands: the ragtag tenement style costumes contrasted against newly-blossoming technology in a nation struggling against the world & themselves. There is a tremendous potential for arts, angles, & architecture in the setting of this musical & I am excited to see how that potential will be explored on the big-screen in this newest adaptation. 

[Hopefully, this movie will surpass the sub-par efforts of Rob Marshall's 1999 attempt at a TV remake. Despite the seeming potential of it’s all-star cast (Alan Cumming, Kathy Bates, Kristen Chenoweth, Victor Garber, Audra McDonald, & even a cameo by Broadway's original Annie Andrea McArdle), this movie was a hands-down flop. It would have been bad enough if it had been an original film, but it seemed even worse considering it was inevitably compared to the beloved classic from which it was inspired. This adaptation needs to learn from it's predecessors' mistakes: no one is interested in a cheesy movie from childhood being translated into a cheesy, contemporary movie.] 

Will Smith has proven himself as a smart producer in the film arena (having produced over 20 films), but he has recently applied his eye for production to musical theatre. Will & Jada Smith (along with Jay-Z) were also co-producers of FELA!, which I saw in the spring at Chicago’s Oriental Theatre & loved it. It was fresh, energetic, informative, & entirely different than any musical I‘d ever seen…overall, a great musical & a smart investment. (Plus, he produced a remake of The Karate Kid for his son Jaden, so it’s only fair that Willow gets her own title role in a remake). Not that I think this is a bad casting choice. She’s grown up in the limelight, so she will be a confident/capable as an iconic central character. More importantly, the girl can sing. She’s released a few videos & has something of a successful singing career; her music is nothing exceptional, but the raw vocal talent is there & I’m predicting an awesome rendition of TOMORROW. 

I’ve long loved Emma Thompson’s presence in female-friendly period pieces, both as an actress in films like Much Ado About Nothing & the screenwriter for Sense & Sensibility [side-note: her upcoming movie EFFIE looks GREAT]; she has also recently conquered the quirky-kiddie genre with the Nanny McPhee movies. She is insightful, quippy, clever, and I have never been disappointed with any art she’s brought to the table. She recently said, “I have been writing the script for nearly three years; it’s exciting. In the autumn, we get to go to L.A. to work with Willow and work on more of the script…Jay-Z has already started working on the music.” Her excitement regarding this project & her teammates only reiterates the faith I have in her screenplay. Jay-Z clearly has a Midas-like touch when it comes to choosing projects & executing innovative ideas. He’s already reworked “It’s the Hard Knock Life” into the song “Hard Knock Life (Ghetto Anthem)” & I loved his reimagining of such a familiar number. Hopefully, this video is a preview of what’s in store for us: